The New Wave, however, because it was born of freedom, created modernity from the Right" (Graham, 126). Graham establishes the aftershock politics can have over austere industries; in particular Graham unveils the very center of French politics during the nineteen fifties and sixties. The New Wave is essentially a vivid combination of the modernity of the Left party and the freedom of the Right party. The opposition between Leftist and Rightist ideals divided the government and drew battle lines among the nation's people. According to Graham the political unrest produced a mirror effect in the cinema industry surpassing the austere cliches one thinks of when trying to understand the French New Wave movement.
Film not only grasped the attention of politicians, but it attracted the youth of France through the relatable qualities New Wave films possessed. According to Graham the French youth were drawn to New Wave films because of the rebellious nature that connected them: "Many New Wave films spoke to young audiences about their lives. They were shot in the present day and were applicable to modern issues, unlike the outdated costume dramas churned out by the 'cinéma de papa'" (Graham, 163). Graham also argues that rebellious nature of New Wave films was not the only characteristic that attracted youth. He believes that youth could relate to these films because the films dealt with the horrors of post war society. Graham cites Claude Chabrol's 1958 film Le Beau Serge as a clear depiction of the tragedies youth faced at this time. The film tells the story of Francois, an ordinary man returning home to his village after a long absence at college. Francois is shocked to discover that the poverty stricken life he left behind twelve years prior has only gotten worse. Francois sees his childhood friend Serge and is stunned to see what tragedies have befallen over his friend.